Sentences with phrase «macguffins only»

Not exact matches

Against the advice of the wise old wand - maker Ollivander (John Hurt), Harry (Daniel Radcliffe) and his friends Ron (Rupert Grint) and Hermione (Emma Watson) set out to kill Voldemort, which they can only do by finding and destroying the four remaining Horcruxes (a series of antique gewgaws in which the Dark Lord has embedded bits of his soul — essentially, wizard - speak for «MacGuffins»).

Yet for all the set - pieces he directs the hell out of — an opening hunt; a piranha attack — it's only in its elliptical final throes that the film eclipses its surface pleasures, as the eponymous city shifts from narrative goal to vaporous MacGuffin.

Madonna plays Amber Leighton, the rich - bitch wife of an entrepreneur (Bruce Greenwood, in an understated turn frankly better than anything he's done in American pictures up'til now) whose business is chemicals, a profession intended to draw his conservatism in neon lights: Not only does he prove to be a capitalistic pig, but his profit comes from a dangerous - sounding line of products that would be the MacGuffin in any other film, too.

Since the movie needed an all - powerful Macguffin anyway, he said it made perfect sense to just use the Cosmic Cube, which had already been set up in Thor, while the presence of a young Howard Stark as a key ally for Cap brings in what Markus could only describe as «that Tony Starkness.»

This film stars Sandra Bullock (While You Were Sleeping, Love Potion No. 9) as Angela Bennett, a beta tester for various software programs who comes upon a computer disk which has a flaw that allows access into the top secret files in the mainframe of a defense computer or some such (It's a MacGuffin as Hitch would call it, I don't need to know what it does, only that it's important and people want it.)

But, like Universal's ill - fated 2017 reboot of The Mummy, a denial of its villainous MacGuffin tends to cast a hunger for the dark shadow resolutely missing from a story which promises to be steeped in adventure but is instead only tiresome.

Perhaps Wilkinson is an author working on a book about the «Child with Apple» painting (seemingly the MacGuffin of the movie that ties all the characters together) and perhaps during the 1960s he was interviewing the now older Zero Moustafa as he's really the only living person to have been around during its theft.

The chief problem of the film lies in a confusion between irony and idolization; Glyn's arch narration, superfluous as it is, provides the film its only cattiness, the staid Agatha Christie parlour game functioning as its unusually disinteresting MacGuffin — its «meow.»

The screenplay makes sure everyone's motives about the MacGuffin are clearly and repeatedly stated, lest anything like actual characters form in the absence of constant exposition (Even Aguilar's romance with a fellow Assassin, played by Ariane Labed, is only established about midway through the story in the past).